m & jf f m sf ■ ^ J, ■ ■I - w W> ; m ■> ^_ 'It. ■■& - Digitized by the Internet Archive in 2013 http://archive.org/details/designresponseexOOfede ■ H vV ■ B ' lfi9fi ■ i<». * 1 IPk 1 mm \3Sr , \ ■! : v ' />£,. ■ From the Committee . . . From the President . . Most of you are familiar with the "Design Necessity" and the "Design Reality." But what is "The Design Response" and who is responsible for it? "The Design Response" is a portfolio of the finest in Federal design work produced by designers working in or for the Federal government across the country. It is the designer's response to the President's Federal Design Improvement Program. This portfolio exhibits the design work of over half of all Federal agencies and illustrates the expanding base of excellence in Federal design. "The Design Response" is produced by the Federal Design Council, a professional group of designers and design adminis- trators committed to excellence in Federal design. In particular, it is a product of the exhibition committee members, Charles Gailis, Bill Caldwell, David Sutton, and the Executive Board of the Federal Design Council. We encourage your comments and reactions to "The Design Response." Please write: The Exhibition Committee of the Federal Design Council, P.O. Box 7537, Washington, D. C 20044. "XWRi RAAAWw^K_ David Hausmann Exhibition Chairman "The Design Response" is the first major exhibition of Federal graphics, audio-visuals, architec- ture and interiors organized on a national scale. The exhibit represents an unparalleled range of creativitv and diversity in design efforts throughout the Federal government. Standards of design excellence for today and the future are presented here. "The Design Response" has been organized and presented by the Federal Design Council, a professional society of govern- ment designers. The purpose of the Council is to promote the status of the designer and the quality of design work produced. This exciting exhibition is a strong reflection of the Council's many activities aimed at achieving that purpose. Both the National Endowment for the Arts, a primary sponsor of Federal design improvement and the Government Printing Office have enthusiastic- ally supported the concept of the show. The concept of the designer working for the Federal govern- ment is not new. Throughout its 200 year history the Government has actively hired designers and utilized design services of all kinds. Maps, stamps, money, certificates, posters, publications, buildings, monuments, interiors, national parks and the ubiquitous form to be filled out are some of the things produced which communicate directlv or indirectly our Government's relationship to "We the people." Many of these stand out in our minds because of the design and artistic qualities which went into their creation. Who can forget, for example, James Montgomery Flagg's "Uncle Sam Wants You" poster, or more recently Robert Indiana's "LOVE" stamp. Today the Federal government spends large amounts of money for design services to communi- cate— to respond - in many ways to its citizens. These communica- tions at their best are designed to be as clear, direct, and visually appealing as possible. "The Design Response" combines the agency's requirements with the designer's skills to produce the vital communication link to the public. Such response must be not only effective in reaching the audience but also in representing the agency in a professional manner. It must be clear that the agency has concern that both the communication and the public audience are of utmost importance. The emphasis on design quality has been promoted within government for several years by the National Endowment for the Arts. Its Federal Graphics Improve- ment Program is working con- tinuously with government agencies to develop means for improving the quality of design in all its aspects. The assumption of the Endowment and the Federal Design Council is that high quality design, with all its considered ramifications for audience, content, goals, and agency, can be the most efficient and productive means for improving design effectiveness. How "The Design Response" Developed A call for entries was issued inviting submissions of design work created for the Federal government. The response to that call, almost 1 ,000 entries, poured in from all over the country. Each entrant was asked to include the design rationale used to develop the design solution entered. Several of these explanations have been included in the show to give you, the viewer, a fuller sense of why the entry was designed in a particular way for the agency. The judges, Karl Fink, Tom Coleman, Richard Hess, and George Nelson were selected to assure both balanced design expertise and team effectiveness. The judging process took two days during which the judges applied themselves well to the arduous task of sorting and selecting We owe much to their sense of professional dedication. Workinq as a dynamic team- sometimes agreeing, other times disagreeing volubly— each showed a clear respect for the other's reasoning In all cases they reached a consensus opinion to declare an item in or out of the show. Each piece was chosen with the utmost attention to current professional standards of visual quality and communication problem solving. At the conclusion of the process 143 items were given a place in the show as representing the best standards of the designer's art. We of the Federal Design Council hope that you not only enjoy this show but also that you consider your own response to "The Design Response." Some Observations for the Future In the process of putting this show together several ideas crystal ized which are worth highlighting. It is evident that there should be more collaboration, more informal exchange of ideas, among government designers in the many agencies of Washington and across the country. The wealth of good work going on should have more of an influence on us all. Likewise there should be more interchange of ideas with the commercial designers. The gov- ernment designer has tended to lead a rather isolated life in times past- isolated from his colleagues in the government and from the larger professional design community. The stimulating influence of new ideas cannot help but have a growth impact on our day-to-day work. This exchange can be considered as an informal approach to education. The more formal methods suggested by Tom Coleman (see the Judging section) can be more systematic in ensuring professional development for the individual and the design group of an agency. The National Endowment and the Government Printing Office have begun efforts in this direction. The Federal Design Council, as part of its ongoing commitment to its membership, holds periodic professional seminars. Together we can help each other in molding a continuing pattern of growth in the design state-of-the-art for government. There are definite areas of design missing from the show. This was evident in the entries submitted. As a result, a major focus of this show is on the external communications of an agency and its public. Dick Hess mentioned some of the show deficiencies in this area. Of equal importance are the internal items and the general working environ- ment of the government worker. These also require top notch visual design to optimize the feeling of personal importance and to help maximize productivity. This goal is an important com- ponent of the Presidential mandate for full participation by the Federal government agencies in the arts as exemplified through the Federal Graphics improvement Program of the National Endow- ment. Thus, future shows such as "The Design Response" should include such items as forms, memos and technical manuals. Additional entries of interior and architectural design should also be included. Further, emphasis must be placed on solutions which achieve the best in aesthetic and commu- nication effectiveness for the most reasonable cost. For example, a specially designed typewritten format can invite reading and be more readable than the usual fill-up-the-page typing found in the piles of documents seen on every office desk. (How much really gets read now?) Other ideas to encourage efficiency in the flow of information internally and externally need to be explored and encouraged — no matter how large or small. There is much competition today for our attention and time. Effective visual design at all levels is the vital force in all kinds of communication. The means by which an agency presents and identifies itself to its audiences is a concern which needs much exploration. Basic assumptions, thus far, have been that the corporate or more standardized identity approach be adopted for agencies. This hints at another idea suggested by some that the Canadian govern- ment's concept of an identity program be adopted. Important questions fol low these suggestions. If an agency is unlike a corpora- tion in significant ways, as mentioned by Karl Fink, can we automatically assume the validity of the standardized identity idea without fully examining all the implications? If we choose to create a Federal government identity program, are we at the same time creating a monolithic image of big government? Since agencies do vary in size and function and do have differing segments of the population as audiences, is it not more appro- priate to reflect the individual character of the institution on a more human level? Then there is the concept of audience feedback. How do we know whether our audience is seeing and responding as we intended 9 How do we determine our communication effectiveness, when we do not have the normal measure of sales results? What do we really know about the re- sponse of the audience to our message designs 7 To those who made it possible Much time and effort have gone into "The Design Response." I want to thank the many people who gave their time and talents to make it the outstanding reality that it is. Thanks go to the show committee, effectively chaired by David Hausmann and ably sup- ported by Chuck Gailis, Bill Caldwell and David Sutton, as well as to the Federal Design Council executive board. Special thanks go to the many members of the government design community without whose tireless help we could not have implemented the many steps necessary to achieve completion. Also, I want to acknowledge the very willing support and encouragement of the National Endowment for the Arts and the Government Printing Office. It is my hope that the patterns of cooperation and exchange that have grown out of this effort will continue. It is certainly the intent of the Federal Design Council to make every effort in that direction. Work with us and we will help make it happen. Mack R. Rowe Federal Design Council The Judges George Nelson George Nelson, designer, teacher and writer, was trained as an architect. At the end of his pro- fessional schooling at Yale, Nelson won a national competi- tion for the Rome Prize in Architecture and spent two years of study in Italy. One by-product was the first series of articles in the U. S. on the work of the pio- neering modern architects of Europe. These brought him an invitation to join the Architectural Forum; he later became the mag- azine's co-managing editor. This followed by editorial work on Fortune and a new magazine project for Time-Life. In 1942 he developed the "Grass on Main Street'' concept which became the now-familiar pedestrian mall. The following year the Storagewall was created and has since been widely used in dwellings and offices. His first office furniture, designed for Herman Miller in 1946, remains an industry standard. The Bubble Lamp, a translucent self-webbing plastic on a wire frame, made possible inexpensive lamps of complex shape. His office has designed products, graphics, of- fice interiors, shops, restaurants, exhibitions; it was responsible for the design of the U. S. National Exhibition in Moscow, 1959, the first major American exhibition under the U.S./U.S.S.R. Cultural Exchange Agreement. Nelson is the author of numer- ous articles published in this country and abroad. His classic book "Problems of Design" has been translated into Japanese and Russian. He has acted as Visiting Critic in Architecture at the Graduate School of Design at Harvard University and lec- tured at many universities and consultant to others. He is a fellow of: the American Institute of Architects; the Indus- trial Designers Society of America; of the Royal Society of Arts (London); and of the American Academy in Rome. He has re- ceived the Industrial Arts Medal from the AIA, a Distinguished Award for his Contribution to the Profession of Design from the ISDA; and the Elsie de Wolfe Award from the ASID. George Nelson is president of the company that bears his name Karl Fink Karl Fink, currently in his second term as president of the American Institute of Graphic Arts, heads the design office bearing his name. A graduate of Parsons School of Design, Mr. Fink established Karl Fink and Associates in 1951 to render graphic and industrial design services to clients in such in- dustries as cosmetics, pharma- ceutical, fragrance, tobacco, confectionery, periodical and book publishing. He was presi- dent of the Package Designers Council, member of the profes- sional council of the Packaging Institute and of the Board of Directors of the Inter-Society Color Council. Mr. Fink has been a teacher, lecturer, seminar panelist, mod- erator in areas of design. He has chaired, planned or served on the juries of numerous exhibi- tions and competitions in graphic and industrial design. He is the author of introductory texts for some of the Graphics Press books, and a frequent contributor to professional journals. Richard Hess Richard Hess, who was born in Royal Oak, Mich., in 1934, is a self- taught artist who has risen rapidly to the ranks of America's leading illustrators. After art directorships for some years with five of the best-known U. S. advertising agencies, Hess formed Richard Hess, Inc. in 1965 and quickly established itself as one of the most distinguished studios in New York. In addition to servicing networks, record companies, publishers and several corporate giants, Hess took over Vista, a magazine pub- lished by the United Nations Association. Under his art direction Vista became one of the most prestigious publications in design circles. He continues to run his design studio, creating trademarks, annual reports and packaging. His illustrations are collectors' items and he is currently one of the most sought-after illustrators in the United States. Hess is the recipient of many awards, the most recent being two gold and two silver medals from the New York Art Directors Show. He is an active member of the American Institute of Graphic Arts, a frequent speaker at symposiums and at universities, and recently took the first steps towards organizing illustrators into a guild. Tom Coleman Tom Coleman, currently Associate Professor of Graphic Design at Indiana University, has spent the past year on leave of absence to act as liason officer and program action officer for the National Endowment for the Arts and the Civil Service Commission on the "Excellence Attracts Excellence" program. He has an exceptional educational and design back- ground, and has received a number of awards. His degrees include a MFA from Yale University and a BFA from Minneapolis. He has served as designer or art director for IBM, General Motors Styling Staff, New Haven City Planning Commission and the Yale University Press. His work has appeared in Art Direction, Print, Graphis, Industrial Design, Communication Arts, Architectual Record, Inter- national Poster Annual, Trademarks and Symbols among others. Federal Design Council Executive Board The Design Response Committee President: Mack Rowe First Vice President: David Hausmann Second Vice President: Lorna Shanks / Betty Moran Secretary: B. R. Contreras Treasurer: Minge Frye Chairman: David Hausmann Goalie: Charles Gailis Catalogue: Bill Caldwell Printer: Stephenson Lithograph, Inc. Typesetter: General Typographers, Inc. Paper: Stanford Paper Co. Exhibit: David Sutton Exhibit system: Container Corporation Facilities: U. S. Department of Labor Photographer: Frederick Figall Assistants: George Baka Michelle Bellavance Linda Brown Steve Ferretti Helen Gebhardt Frances Gill Christine Griffith Cynthia Guin Elaine Hamilton Betty Hebb William Howard Barry Huber Jeanne Krohn Dale Pavey Geri Pavey Jerry Pavey Terri Plumb Cyndi Stana Janet Thot Ronald Winterrowd Turk Winterrowd The Judging Process Some interesting comments were exchanged throughout the judging process, and a selection of these comments is provided here to give some flavor of what went on. Government Identity Fink: "I'd like to see some inquiry into government identity. How agencies should differ from each other. Or should they? What relationship they should have with each other. We're all pretty tired of the eagle. Stars are beginning to bother us; so are stripes. This problem merits your attention. It merits the calling in of others besides graphic designers- people like Arnheim, the visual psychologist— people who under- stand reactions to visible phe- nomena and what they mean. How visual arrays are read — how the brain responds to stimuli. It's a cinch that we as designers and jurors aren't buying much of what is being done today in terms of design." Government Communication Hess: "Some of the films seem to be propaganda. They present policies unsupported by facts." Fink: "Yes, I felt I was being manipulated. In reading print, you're not the captive audience that you are with visual media such as films, slides, etc. That's a very important point. You can't pick up a TV program and read it or scan it or skip chapters." Hess: "Also, you supply your own tone of voice in a printed piece." Fink: "The government does many things and spends great amounts of money on its citizens. These communications should be in an expository style and not presented in a manipulative or defensive way. Government isn't like industry. The problems are different. It's not marketing a commodity; it's not a public utility. The first emphasis is on legibility; not marketing. Government should inform and make clear. If it's necessary for an agency to take a particular position in order to solve a problem, I think they should say so and not present it as though it's the only way to look at the subject." Hess: "Some of the films are beautifully done, but I can't include them in the show because of the total effect of the piece. They don't present the case fairly." Nelson: "Yes, I'm allergic to presentations that try to dazzle you so that you never look beyond the dazzle." Fink: "It's impossible to separate content from design. You can't underwrite something just because it is well done. Even if it's inven- tive and entertaining, it's very hard to buy it if it's selling something that you feel shouldn't be sold or that it is definitely trying to manipulate. Coleman: "How do you think the photographers and designers who worked on these things should feel? Or should they care?" Fink: "In advertising there are people who won't work on projects or products they oppose." Hess: "This has changed. It's now a business like any other." Fink: "There are still artists who will not work on things they feel are not good for this world " Design and the Designer Nelson: "We keep wondering why people don't get excited about 'good design' and don't differen- - tiate it from "kitsch." It may be that there's nothing to excite them. I've been taking pictures of some of these clusters of buildings around, and there's nothing that comes within light years of a Honda as far as visible quality goes. People can look at bikes and speakers and really evaluate the design quality. It's just possible that the public is right. They're putting their attention where it ought to go— where they feel that they have an influence." Fink: "It's my observation that sophisticated graphic design is just beginning to be a state-of-the- art in this country." Hess: "There doesn't seem to be a great interest on the part of the government designer in the outside world. There's no interchange between the New York designer and the government designer. We need more free-flowing com- munic ation between these groups ." Hess: "Many New York designers see government work as something good to be accomplished. This is serious stuff. It's not a Gino's hamburger problem." Hess: "The New York designer frequently has the ability to select his client— one with whom he works easily and well. The inside government designer, on the other hand, doesn't have this sort of option. This situation poses a special set of problems in terms of achieving good design." Coleman: "There are some things that can be done to help the government designer and design -and maybe AIGA can help here First, we can encourage young designers and student designers to go into government design. They should want a challenge, an opportunity to do something for society, a large audience and all the work they can handle!" "Second, we can develop a continuing education program for the Federal designer to keep him or her refreshed Courses, semi- nars, special design speakers, lecture series, etc., should be widely promoted. Also, hands-on studio classes— two to three day institutes— involving a university or art school teacher with Federal and industrial designers can be organized around specific sub- jects. This is a terrific way to let designers know what is going on elsewhere. "Third, we can encourage the exchange of designers between government and industry. Send a senior designer from industry to work with Federal design groups for a two-week period on a quarterly basis." Hess: "We do need to find new ways to continue to educate ourselves. What has happened now in business is that our audi- ence has again caught up with us. We have bored them to death with our stuff. We must find different ways to be effective." Fink: (on some of the films and slides) "There's wastage here that is more important than it is in print. Much of what we've seen here is like the old industrial films-too slow paced, too long to get to the point. They seem to be using up footage, filling up time, because that was what was budgeted. They should be working from a problem definition and not a budget definition." Hess: "This is what I'm trying to change as a designer. Frequently I'm told 'I want a 48 page booklet." And, if I need 40 or 65 pages, I've got a helluva job to squeeze the copy or stretch it out. Currently, when I take a job- like an annual report— I require that we don't begin with preconceived notions as to how many pages will be used." Architecture Nelscn: "Much of the work here certainly doesn't look like govern- ment work of three years ago." Fink: "You really have only a token amount of entries when compared to the other areas. Again, you need to make an appeal for a broader cross section of entries." Hess: "You have some difficulty in lumping all segments of desian together. Also, I find it difficult to judge three-dimensional subjects such as exhibits and architecture from flat renderings. I once saw the renderings for the Edsel, and I can see how they got sucked into building that ugly thing. The drawings looked terrific. By the time it got translated through the production technology— the extrusions, the bending limitations, etc.- it had changed." Hess: "I find that architects have a block when it comes to the graphics and signage. They carry through the architecture very well. And when they come to the interior graphic stuff, it breaks down." (A discussion ensued in which the aspects of architectural design and the relationship to its environ- ment was explored. One aspect was the effectiveness of large scale. Huge figures of people and objects— such as a gigantic chair or a teepee- used as roadside advertising was discussed as one way to relate to the environment and to the public. Oldenburg's giant toilet float for the Thames River was another. A second aspect in the discussion was the problem of whether a design should contrast with or blend into its environment.) Nelson: "It's funny about extremely large scale. There must be a tightrope where somethina is funny because of its wit or kooky quality, or it's lousy. It's very close. The old giant wooden elephant in Atlantic City holds pleasant memories for me. I don't know why." "Then, there's the argument that says 'OK let's design this 200 foot diameter ball bearing; some- thing that has nothing to do with nature.' Suddenly it can look absolutely marvelous because this is the best there is. And somehow it goes together well with its environment. Those moon shots; that LEM or whatever you call it, looks so good there because it doesn't touch the landscape. I suppose if you had 200,000 LEMs all renting for $300 a month . . . It's one of the arguments I've become aware of as against the other one, which is OK too, where you say 'Let's make it so incon- spicuous that it doesn't bother you." Logos Nelson: (referring to a logo entry) "There's nothing wrong with four arrows, or three or two, except there's a lot of them around." Fink: "You could run a whole exhibition on arrows today." Hess: "Abstract logos have become the murmured voice, the hubbub. I have a terrible time with student work on trademarks. It's hard to criticize a perfectly good one— except, I'm bored to death with it. I don't know that I'd notice it." Coleman: "I know how to criticize it. You say, 'I've seen it'." Fink: "With the business of marks and logos entered here— almost all met with resentment. I don't think this reaction is atypical to our group." Hess: "Logos have met with rejection. It's not that there weren't some good ones— there were. They are not the identity solution they once were. Our environment is flooded with logos. It's a trend that's building faster than anything I know. Sometimes identical ones get designed simultaneously in different parts of the country. Simple geometries no longer communicate." Fink: "You have to stylize images into an abstraction today. You don't use figurative things in marks." Nelson: "They're still holding on to that White Rock girl." Fink: "It's only a question of time." Hess: "Like the Morton Salt girl. They take something that's really beautiful and change it." Printing Coleman: "The next time you do this show, ask for who the printer was. I can't believe the quality on some of these pieces. Look at these (images in a publication). They're supposed to be repros for pasting down into camera ready art, and there are all different shades of grey instead of a uniform black." Fink: "The printing of some of the items was less effective than it should've been." Hess: "I got a questionnaire a few years ago. It said, 'We would like to offer better service to designers. How can we instruct you in ways that will make you better able to produce work for printing?' And I wrote across the form, 'That's not the problem. How can I instruct you how to reproduce what we produce?' " Nelson: "Printing is getting faster, but certainly not better. It's a curious phenomenon. It doesn't show quite as blatantly here as it does in other places. We begin to get this question: 'How is it that, as we get richer and richer and richer, supposedly, the quality of this and this and this goes down. And suddenly there's nothing you can afford, whether it's good printing, good engraving, or whatever'." General Observations Nelson: (after seeing the entries presented.) "The output of work here is prodiqous!" Hess: "We are encouraging a positive response to the standards set here in this show. I was happy to see my expectations on the graphics entries confirmed. There was a general high level of quality among the stuff that was very good. There's also a lot of mediocre stuff. What disturbed me most was that I saw a lot of good stuff primarily being fluff — like posters and bicentennial things. Those are all easy. I didn't see any of the serious functions like forms. Tax return books still aren't handling the explaining of the tax return problem. You still have to be a scholar, with great stamina, to read the book which explains the form. I expected to see more shortcuts for people." Hess: "Up until a few years ago, I think these shows gave us an opportunity to see how the leaders of our industry were solving problems. They opened up our horizons. In the case of this show, it will be doing that for the government." Acknowledgement The Federal Design Council expresses appreciation to the following for their support and encouragement: The National Endowment for the Arts The Government Printing Office U. S. Department of Labor Special appreciation is extended to the following financial sponsors: Herman Miller, Inc. Container Corporation of America American Telephone and Telegraph Radio Corporation of America mkw eSP * & ■ Abbreviations ag. agency ad. art director ar. architect au. author cw. copywriter de. designer di. director ed. editor ill. illustrator id. interior designer pe. picture editor ph. photographer pm. project manager pr. producer re. renderings si. signage WJw ■ 3$£ a I ag United Slates Information Agency ad Richard Suib de William Kissiloff ag. United Slates Information Agency ad Bill Caldwell/Richard Suib de Bill Caldwell/William Kissiloff Audience: People of the Soviet Union To acquaint Soviet visitors to the Photography USA Exhibit with the why and how of contemporary U. S. photography. A magazine format is used emphasizing the photographs rather than words. lag United Slates Information Agency id Richard Suib de Paul Kervm [ph. various cw various 'it* ■ ■ ■ ■ ..:■.' ■ ■ ■ ■ ■ ag American Revolution Bicentennial Administration ad Jack Masey de Charles Eames ag. United Slates Information Agency di Charles H Clarke ar Robert P. Gersin Assoc de Ethel K. Freid United Stales exhibition OCEAN EXPO 75 OKINAWA JAPAN JULY 19. 197S JANUAHV 20 1976 ■ ag American Revolution Bicentennial Administration ad. Jack Masey de George Nelson and Company ag USIA ad John Vorhes de John Vorhes United Slates Information Agency Bill Caldwell Lou Nolan Lou Nolan various ag. United States Information Agency ad. Bill Caldwell/Jay Taylor de Michael David Brown ill. Michael David Brown ag. United States Postal Service ad. David Foote de Luebbers & Jarret ph Al Freni ag. United States Information Agency ad B de B ill. B II Caldwell Caldwell Caldwell ag United States Information Agency ad Bill Caldwell de Ethel K Freid ill Ethel K Freid, Dan Smith ph Paul Starzinski, National Geographic, and others /MOK3I1W0MG1 ag Alcohol Drug Abuse Mental Health Administration/ National Institute of Mental Health ad William E Bowman. Ill de William E Bowman. Ill ill William E Bowman. Ill ag. National Institutes of Health ad Ron Winterrowd de Charles R Gailis ill. Charles R Gail is > ••„ The United States -Japan Cooperative Medical Science Program Audience: Program participants and interested medical researchers To develop a graphic mark that symbolically illustrates U.S./ Japan cooperation in medical research. ag. U S Department of Agriculture ad/de David Sutton ill Marcia Eddins ag United States Information Agency ad B de. B ill. B II Caldwell II Caldwell II Caldwell servi®enter science museums United Stales Department of Agriculture 1 . The Planetarium projector at the Rochester. New York. Museum and Science Center is a composite of 160 separate projection systems that reproduces on the dome the appearance ot the night sky (or any Iirne and location on Earth. ag United Slates Information Agency ■ ad. Bill Caldwell de Jane Deangelo i ill. Jane Deangelo ag. United States Information Agency ad Bill Caldwell de Dan Smith ag. United Stales Information Agency ad Ethel K Freid de Ethel K Freid ag. National Endowment for the Arts ad Nick Chaparos de Richard Foy W8M911375 October 30-31 1975 Denver, Cole Colorado Women s O : Houstoi IX.X Color.'! ho Montana Dakota Utah Federal Regional Design Assembly Western States i, ui i-E CHIT NICA ENVIh HITECTl JMMUNIC ."URE-ENV •ARCHITEC ■UNICATIONi i-ENVIRONMl CHITECTUREI, IE -VISUAL COM, E ARCHITECTURl IUNICATIONS-ARC ECTURE • VISUAL G ■ICHITECTUREENVII JATIONS-ARCHITECTl NICATIONS ■ INTERIOR L ENVIRONMENTAL PLAN HITECTURE ■ INDUSTRIAL , IENTAL PLANNING • ARCHITECTURE- VISUAL COMMUNICATIONS • INTERIOR DESIGN • INDUSTRIAL DESIG* - INTERIOR DESIGN • LANDSCAPE ARCHITECTURE ENVIRONMENTAL PLANNING- VISUAL COMMUNICA' RCHITECTURE -VISUAL COMMUNICATIONS- ARCHITECTURE- INDUSTRIAL DESIGN ARCHITECTURE 1 DESIGN • ARCHITECTURE VISUAL COMMUNICATIONS INTERIOR DESIGN INDUSTRIAL DES'' •5 DESIGN ■ LANDSCAPE ARCHITECTURE -ENVIRONMENTAL PLANNING-VISUAL COMMUN "" IRE -VISUAL COMMUNICATIONS ARCHITECTURE ■ INDUSTRIAL DESIGN •ARCHITEC"' ■=SIGN ARCHITECTURE VISUAL COMMUNICATIONS INTERIOR DESIGN INDUS' "SIGN • LANDSCAPE ARCHITECTURE ENVIRONMENTAL PLANNING- VISU/ 1 ' "VISUAL COMMUNICATION JRE INDUSTRIAL DESIGN • •'TECTURE VISUAL I M I ERIOR DESIGN • INDI '' "CAPE ARCHITECTURE • ENVIRONMENTAL PLANNING-VISi ' • 'MUNICATIONS ■ AR< ' JDUSTRIAL DESIGN N- ARCHITECTURE- VISUAL COMMUNICATIONS- 1' *i LANDSCAPE ARCHITECTURE ENVIRONM r SUAL COMMUNICATIONS-ARCHITECTURE ING ARCHITECTURE -VISUAL COMMUNICA'i -IDSCAPE ARCHITECTURE-ENVIRONMENTAL ,U AL COMMUNICATIONS -INTERIOR DESIGN-IN JHITECTURE ENVIRONMENTAL PLANNING-VISI ATIONS ARCHITECTURE INDUSTRIAL DESIGN •* iTECTURE VISUAL COMMUNICATIONS INTERIOR ESCAPE ARCHITECTURE ENVIRONMENTAL PLAN .LCOMMUNICATIONS-AR^HITECTURE-INDUSTRIAL Audience: Worldwide (except America) To quickly identify American sponsored programs related to International Women's Year. Since a variety of programs would be sponsored during the year, a series of five posters was pro- duced to give a feeling of change yet of continuity. Space was pro- vided on the poster for the addi- tional imprinting of each program and local information. ECTUREVISUAL COMM NATIONS INTERIOR DESI JSC APE ARCHITECT! " "ONMENTAL PLANNING ^INDUSTRIAL DES ■ COMMUNICATIONS <CHITECTURE-VI C ' INS-INTERIOR DE ■LANDSCAPE At" MENTAL PLANNI, SUALCOMMU' NDUSTRIAL Dt ITECTURE -V ""R DESIGN IN vIDSCAPE ' 'iNING-VISl «L COMM' »L DES' -■ESIGN-* 'NTERI rllOP ' 'ALP. HIT- ~-Th United States Department of Transportation Thomas Geismar/Amencan Institute of Graphic Arts Cook & Shanosky Associates ag United States Postal Service ad- David Foote de. Vincent E Hoffman ill Phil Landry Symbol Signs ( do a X + f fit a8 Contention* 5 ?i ■P T iffi = * ■ * iii iii \Ja ^a <§> ■■■■Bill ® P o Famous last words r ,-T / BPtWM ^C^Lo «# J /;"[' 7®^ Y x S Jr 1 ^ Y' • ^V rVy^i "I know every turn in the road..." Audience: General public To depict the results of a study undertaken to develop a set of symbol signs for use as Federal standards in all U. S. transporta- tion-related facilities. ag United States Postal Service ad David Foote de Vincent Hoffman ill Phil Landry ag. United States Information Agency ad. Bill Caldwell/Jay Taylor de Zeb Rogerson ill. Zeb Rogerson Famous last words "I can be in and out of the yard before he notices...' ■ AMERICA books ag United States Information Agency ad Bill Caldwell/John Walsh de Bill Caldwell ill Bill Caldwell ag. United States Information Agency ad Bill Caldwell/John Walsh de Bill Caldwell ill Bill Caldwell TIME COVER ART An Exhibition of Time Magazine Cover Art ag National Park Service ad Vincent Gleason de Dennis McLaughlin ill Ivan Chermayeff ag National Park Service ad. Vincent Gleason de Dennis McLaughlin ill Leonard Baskin ph Robert Lautman ag National Park Service ad. Vincent Gleason de Dennis McLaughlin ill. Carol Summers ag National Park Service ad. Vincent Gleason de. Nick Kirilloff ill Dan Mafia ag National Park Service ad Vincent Gleason de Dennis McLaughlin ill. Betty Fraser ag National Park Service ad Vincent Gleason de Dennis McLaughlin ■ vf&t)iAd£.i*t.xpifr\ '!.ityjN4i.^^^r^^-^^D|Ai(M^Vvi: : .'! >m...- ag National Park Service ad. Vincent Gleason de Dennis McLaughlin ill Arnold Varga ag National Park Service ad Vincent Gleason de Dennis McLaughlin ill Ben Shahn The National Parks tarn CAPE COD CAPE COD NATIONAL St ASHORE MASSACHUSETTS I NATIONAL PARK SERVICE US DEPARTMENT Of THE INTERIOR ' NATIONAL PARK SERVICE Its DEPARTMENT OF TXE INTERIOR ag. National Park Service ad Vincent Gleason de Dennis McLaughlin ill Leonard Baskin ag United States Intormation Agency ad B de B ill. B Caldwell I Caldwell I Caldwell .^M'^^m-v-y mum ag United Slates Information Agency ad Bill Caldwell de Bob Altemus ill Bob Altemus ph various ag National Park Service ad. Vincent Gleason de. Dennis McLaughlin ill BenShahn O U R O YNAG OGUE1 ag. National Park Service ad Vincent Gleason de Paul Rand ag. National Endowment for the Arts de. Ivan Chermayeff Richard Saul Wurman ph. George Krause ag United States Postal Service ad David Foote de. Terretice McCaffrey ag United States Postal Service ad David Foote de Ford-Byrne ph Ford-Byrne ,■ »y- 'Don't fire unti the whites of theirl ag Agency for International Development ad Daniel F Shea de Robert Lovelace ill Robert Lovelace ag. U. S. Department of Agriculture de. Marcia Eddins Hutrients and Foods for Health i *ltu.,»l»-. r>*t. ... .om.ll v<z?:^ ag Farm Credit Administration ad Jerry Pavey de Jerry Pavey ill Jerry Pavey cw Chris Quinn ag. National Park Service ad. Vincent Gleason de. Nick Kirilloff ill Alan E Cober America's Agricultural Heritage A Farm in Colonial Virginia ag Western States Arts Foundation National Endowment lor the Arts de Richey/Shiramizu cw Brennan Rash ag Food and Drug Administration ad Ticia Edwards de Zebulon Rogerson ill Zebulon Rogerson cw. Margaret Morrison Audience: Arizona residents To present through the use of typography and color the rhythm and spirit of the flamenco dance. When buying and using cosmetics, read the label. Follow directions exactly. Wash your hands before applying a cosmetic. Close containers after each use, to prevent contamination. Be especially sure eye cosmetics are kept clean. Use aerosols in well-ventilated rooms only. Keep cosmetics out of children's reach. Remember -cosmetics can make you look and feel more attractive, but they can't make you younger or change you permanently. Use them correctly and safely. ag National Aeronautics and Space Administration ad Design Associates. Inc. de. Paul Dunbar ill Davis Meltzer cw Nicholas Panagakos ag United States Information Agency ad Dave Moore de Dave Moore. Dorothy Fall, Patricia Gipple. Bob Altemus III Dorothy Fall, Bill Park, Arnold Roth ph numerous ed Leonard Reed ag United States Information Agency ad Dave Moore de Dave Moore. Joseph Morgan, Dorothy Fall. Patricia Gipple. William McMillan, Thurman French ph. numerous ed Leonard Reed ag United States Information Agency ad Dave Moore de. Dave Moore, Patricia Gipple, Dorothy Fall Thurman French, William McMillan ill John Heinly ph numerous ed Marione Yahraes AMePHKQ FIEHATb: CAMOE HEIIOKOPHOE M3 CPEHCTB MACCOBOM MHCDOPMAUMM TPMEYHA HMTATEnfl nPECCA CLUA CBo6o^a m or- BeTCTBeHHOCTb ZlHTepecHo oaGcrraTb b ra3eie ','' ] ,' ™ ."' ! £5i : ''.:' ag United States Information Agency ad Bob Banks de Bob Banks ill Bob Banks cw Nancy Hild ag United States Information Agency ad Sam Burlockoff de Sam Burlockoff Bob Altemus pe Ellen Toomey ed Nancy Hild ag United Stales Information Agency ad Bob Banks de Bob Banks ph Mike Mitchell cw Nancy Hild ag United States Information Agency ad Bill Caldwell de Bill Caldwell ill Bill Caldwell ph various 7/ BUSINES &TE/RI5 GETQGRHFR,^ ag Federal Energy Administration ad Richard A Wilder de. Fred Trailer cw Tony Spaeth American Energy Presidential Energy Program Briefing Federal Energy Administration American Energy Presidential Energy Program Briefing Federal Energy Administration Audience: General public To develop a symbol and identity system for the new agency. The words "Federal" and "Energy" were paramount to the design solution. Ligaturesorothertypo- graphical approaches were not to be considered. The symbol had to be reproducible in all sizes and colors. The system de- scribed in manual form had to be such that individuals from varied disciplines and schools of thought could readily support the identity program in their areas of expertise. The PMS colors and type choice provide a national availability for regional personnel and vendors to easily produce material within the standards. ag Department of Labor ad John Massey (Center lor Advanced Research in Design) de Dean Lindsay ill Mas Nakagawa cw Dean Lindsay ag American Revolution Bicentennial Administration ad Chermayetf & Geismar Associates de Chermayetf & Geismar Associates 7.1 Communications Mark Official Symbol of The American Revolution Bicentennial Guidelines for Authorized Usage Official Graphics Standards Manual Reproduction Materials U.S Department ol Labor Graphic Communication Standards ^ r M ^ z-. o m 7 ^6-t9l fe ^oumo/v abc 7 ^6-l9l fe Audience: General public To develop a system of graphic standards for the Bicentennial log and its applications. Audience: Department of Labor personnel To provide graphic standards manual for the Department to unify and coordinate all Departmental communications systems. ^ £? ,jCA- UT '°<V ^*'OA, '''6- 19'* ag. Internal Revenue Service ad Don Lynn de Betty Moran ill Michael David Brown/Donald Komai Understanding Taxes Internal Revenue Service * This brochure contains information lor Teachers ana Principals and includes addresses and telephone- numbers ol IRS Understanding Taxes Coordinators 11 WW? If Understanding Taxes • \u fRlf ag. Internal Revenue Service ad Don Lynn de Sparkman & Bartholomew Associates, Inc pm. Betty Moran ill Pete Gonzales/Michael David Brown Chapter 1 Our Federal Tare System ag. National Endowment for the Arts ad David Hausmann de. David Hausmann ill. Michael David Brown ph various ed Andy Leon Harney ag. National Endowment for the Arts ad. David Hausmann de Jeanne Krohn ill. Jeanne Krohn Things You D< >n't Give Away MmcK-ig An,.h,n.b*.J ■ -cultural post Publi* Service Jot Grow in the Art* ,«-i..i, ci r\ ,,.b ■. ,.i..i .mi lUCIini Iff" Witlttbript ..I l[n 1:11.1.1. I.K-1,1 1 . ,l|.| i.l|li^,K ■. II JlJinlillj ill .»H>t . "IT ■ ipfcj »rn! wrt %t»f* si it.t Neighborhood Aih Ptvfnai -. ruhti. pl*il* I My nam !W^ ~ willing pioccit with.r. th« young Nil.vc AnuKican cummunily In the M.ni, f «.i. -rc« T.rn* oi th« Indian oomMsullwim aymi and wrluJ*. n a:' SrciTfioi ■ M ■'■ ImoU Ti 'i* edited bv JimWh.it .,nd itdpioducl of Mtnnctola Poet* in the School* « p.oiccl ol COMPAS (Community Piootam* in the Am and Scwnetaf St P*ul and initially funded by Iht i National i ndowroem foi the Am J F« lurlhvi iniotnation o, lo. copies ' by Black Cloud 1 Heart of the Earth I igc A ol Time ol the lr.d^n cont.ct , . Minneapolis, ■ ■■■■k. ^affl md my 1 1 h i' Minnesota 1 M ■ bAl(J2 Inside ■Ntoa i-*. ai < -i—... ) Mink !■ i- Li i' dMl 1 cdft.il *[. arli i r« «* iu M «id I ■ ' ( ataiorin !■! A~<u>i > ■ 1 a..-l.n, Ik- t'xMi. IkI IMu rrn*, a i 9 ag. National Endowment for the Arts ad. David Hausmann de. David Hausmann ill. Brian McCall ph. various ed. Andy Leon Harney ag. Library of Congress ad. Sarah L Wallace de Donna Carter tu ^ N. tional EmLmmrni for the An, :alt «uc 1 September 1974 (gr>» XDSt A " J 1 -1- Arts and the .-.II. \,i, II, uip . Economy md " .. ■•:.>-! pi.ll. . ■ ■ .- . j. i^i »mi i<r >k->. f -- 1.. tuprmv- N Un*irl* tad ... ' ,11 1 Bilk ■ ■ ■ ■ ■ .Hindi rnJc >vi<r> ,i. :«(<li iK..i DlEMC* Increased pTMluCbMI Ifcmfcn llS.- Milr.,..! (>l»rj .(..! INe fa* Amnoi m, in mrc Hed BtcGii Whet i , ., , , Qpm iW WUBon >"'f Summer is the Season for the Arts ipitnl projnmi Like plait ill cnir lh Inside Quarterly Journal O F " t fc E" t I B R A R Y OF C ON G R E S S —4 Li Audience: Scholarly and library communities; general public To make available to the public, at reasonable cost, materials on the collections, services, and activities of the Library of Congress. I ag United Stales Postal Service ad David Foote de Peter Tasi ag. United States Information Agency ad Bill Caldwell de Bill Caldwell ill various ph. various cw Yuri Yelagin me United Slates P litestone collection or space accomplish cetetwatlon of Ihe Apollo Soy - - "MAN IS HIS OWN STAR..." ag Smithsonian Institution Press ad Stephen Kraft de Elizabeth Sur ph various ag Comptroller of the Currency ad. AmyMillen de Jack Lefkowitz ph Mike Mitchell cw. Alexander Graham, William Snyder Audience scholars To enable the reader to move easily through a mass of material. Second color is used for quotes and for decorative elements, which introduce new trains of thought within each chapter, as well as for chapter openings and illustration backgrounds. ag United States Information Agency ad Bob Banks de Bob Banks ill Bob Banks cw Leslie Loker ag United States Information Agency ad Sam Burlockoff de Sam Burlockoff pe. Ellen Toomey cw Arthur Schlesinger, Jr. | ag United States Information Agency ad Bob Banks de Sam Burlockoff ph Mike Mitchell cw Walter Froelich ag United States Information Agency ad Sam Burlockoff de Sam Burlockoff ill Franklin McMahon cw Nancy Hild ag Farm Credit Administration ad Jerry Pavey de Jerry Pavey ill Jerry Pavey cw Ron Enkson ag. Farm Credit Administration ad Jerry Pavey de Jerry Pavey ill Jerry Pavey ph Grant Heilman cw Hon Enckson The Cooperative Farm Credit System » g. National Endowment for the Arts le. James Johnson ih. James Johnson John Veltri ag National Endowment tor the Arts de David E. Hausmann ill Sparkman and Bartholomew, Assoc cw Judith G Smith Anne Clark museums usa national endowment for the arts Audience: Professionals, trustees, citizens and groups actively involved in the work or study of museums and other cultural institutions. To convey information of incred- ible quantity and statistical com- plexity to a lay audience. Clear charts and graphs laid out in a logical order were enhanced by the use of color screens. ag. National Park Service ad Vincent Gleason de Melissa Cronyn cw Zorro A Bradley ag Farm Credit Administration ad Jerry Pavey de Jerry Pavey ill Jerry Pavey ph Jerry Pavey CAT CATI CATIO CATION COMMUNICATIONS Monday. June 9 8:00 dm Registralic COMM COM 10 00 a 10 20* Audience: General public To give a broad account of the history of the park site supported with ample pictorial material, all compiled in an inexpensive and compact booklet which also functions as a souvenir sales item for the park. . . ■ Reports ■ ■ Refreshment Break System wide Advertmng ■ ■ 11 00 am Farm Credit Communicator* Fund ■ ■ i , 11 20 am American Institute of Cooperation ,.-u ■ Si. F' ' ■ ■ ■ Direct - 11.30 am Lunch (unplanned) 1 00 pm Individual Bank Mattings ■ ■ I 227 Ban) ■■ h loi [Pul 5 00 pm Adiouii n,F„ ag American Revolution Bicentennial Administration ad Chermayeff & Geismar Associates de Larry Kerbs/Elaine Rooney ag U S Department of Agriculture ad Marcia Eddins/Janice Proctor ill. Marcia Eddins/Janice Proctor Bicentennial Times ? /s\ tu "7 6 -,< LABELS FOR FOODS DONATEDTO FAMILIES Bicentennial USA 1975 March April May 12 3 4 5 1 2 3 2 3 4 5 6 7 §L_ 6 7 8 9 10 11 12 4. 5_ 6_ 7 8 9 10 9 10 11 12 13 14 15 13 14 15 16 17 18 19 11 12 13 14 15 16 17 m i 16 17 18 19 20 21 22 20 21 22 23 24 25 26 18 19 20 21 22 23 24 23 24 25 26 27 28 29 27 28 29 30 31 S 25 26 27 28 29 30 31 30 31 ag National Park Service ad Vincent Gleason de NickKinlloff ill Alan E Cober cw John Luzader an unsuccessful climactic attack on Quebec When the invasion Failed and the Americans were forced to reireat from Canada in the spring of 1776. many soldiers and politicians blamed Schuyler lor the de- feat. Because of the rising criticism of the New York commander. Congress on June 16 directed General Washington lo make General Gales, then ad|utant general of Ihe Continental Army, commander of the n forces in Canada Gales arrived at Schuyler's headquarters In Albany believing that he was to eKercise complete command over the Norlhem Department Schuyler refused lo recognize Gales jurisdichon, however, pointing out lhal the congressional resolulions and Washington's fnslructlona limited Galea authority to operaiions in Canada Since the army was 'hen m New York, Schuyler maintained thai he was still in command o' Ihe cl-pjriment Pending clarification of Ihetl re- spective positions, Gales acquiesced and submitted lo Schuyler s authority After Congress confirmed Schuyler's interpretation, Gales remained in the norlh as commander at Tl conderoga As ihe next ranking senior officer under Schuyler, he also functioned as second In command of the Northern Department Both Schuyler and Gales tried lo adjusl to this less-than-ideal situation, but their personalities and perspectives made ad- justment diilicult. Schuyler was an aloof, class-con- scious conservative Although Gales had grown up on [he fringes of English upper-class soc ■ had been a career officer m the British Army before waa more democratic, both socially and politically. Sectionalism compounded their diffi- culties. New Engenders, whose attitudes loward Schuyler ran from critical to hostile, found Gates much more congenial and effective. Schuyler s much-publlciied lack of aggressiveness and the military misfortunes .jttt-ri.ling norlhem 0| earned him many Critfca In the arm, jr,;i C who considered Gates a more professional olhcer and the kind of commander the important i frontier required Late m 1776. at the direction ol Congress, Gates led Ihe Pennsylvania and New Jersey troops soulh lo join Washington for the campaign in New Jersey. For awhile Gates commanded at Philadelphia and then returned lo his old job as adjutant general In the meantime Congress had again grown dissatis- fied with Schuyler s handling ol mililary affairs in s\m> y^ 1 '■ " ' /?» ,,!■■.: ag Smithsonian Institution Press ad Stephen Kraft de. Gerard Valerio III. multiple cw museum staff ag National Gallery of Art de Frances P Smyth au Diane Russell ag National Endowment tor the Humanities ad D DeChaby de Edvardo Zayas ag National Institutes of Health ad Ron Winterrowd de Betty Hebb ill Betty Hebb ag National Park Service ad Vincent Gleason de Dennis McLaughlin Linda Meyers cw James V Murfin 177B NATIONAL PARK SERVICE GUIDE TO THE HISTORIC PLACES OF THE AMERICAN REVOLUTION 1771 foodJAllERqy ag United Stales Department of Transportation ad Thomas Geismar/Amencan Institute of Graphic Arts de Don and Karen Moyer ill. Cook & Shanosky Associates ag Smithsonian Institution National Museum of History and Technology de Robert Staples/Barbara Charles (Staples & Charles) ph Rick Steadry Symbol Signs OltteoiFac.l.Mlion ■ . ■ No amount — — '///, ~ — EH S!=B=!S " ~™s§23|™ B E E3 n <S> © : @ k H ^ ■ Si Mli pSSllf = " •••• o 'SB " AM __- \ A i Xl Audience: General public To evaluate existing signage systems and to develop a set of standard symbol signs for use as Federal Standards in all U. S. transportation-related facilities. ag. National Endowment for the Arts ad David Hausmann de. Diane Croyle ill. Diane Croyle & Mngs Kesidencies fbrWiters -Writers in Developing Colleges Fellowships &< ■milts I'oi ( OI1HMKSCTS &l Jhirllisrs Symphony .JOifluvsirn rroi>ram architecture + environmental arte program Audience: Specific art audiences To reflect the subject matter with which the artist (audience) is in- terested. To maintain the unity of the series despite the individual- ity of each issue. Different type- faces appropriate to the different audiences are used. ag Library of Congress ad Sarah L Wallace de Kathryn C Burke ag Smithsonian Institution Press ad Stephen Kraft de Stephen Kraft ill Saul Steinberg To Set a Country Free • ■■: 4& uk *kV; i / 1 # f 1, / r^s?^ - iiJi , */i STEINBERG at the SMITHSONIAN THE METAMORPHOSES OF AN EMBLEM Foreword by John Hollander ttLtiU I > ■ - - ag National Park Service ad Vincent Gleason de Melissa Cronyn ag National Park Service ad. Vincent Gleason de Nick Kirilloff cw George E Davidson ag. Farm Credit Administration ad Jerry Pavey de. Jerry Pavey ill Jerry Pavey Consolidated Bonds of the Farm Credil Banks ag National Park Service de Susan Dynes ill Susan Dynes Consolidated Bonds of the Farm Credit Banks Financial Slatemenis December 1974 Federal (_•:.■ I Federal Intermediate Credit ■ i (operatives Consolidated Bonds ot the Farm Credit Banks Uatements ei 1973 ag United States Information Agency ad Dave Moore de Dave Moore, Dorothy Fall, Patricia Gipple, Thurman French, William McMillan ill Alan Cober. Jacqui Morgan, Dorothy Fall, Ted Zeigler, Mark English, John Hemly, Paul Davis, Arnold Roth ph numerous ed Leonard Reed ag. Food and Drug Administration ad Jesse R Nichols, Jr de Donald Komai ill Michael David Brown V - ^ Newlear's Resolutions For Health And Safety ^ ■^ j llns is iiu- lime ol ycat i"i reflection on the yew pa i and planning foi [he yau ahead li is also the time foi making resolutions Here are a few the I ood and Drug Vdniini&traiion lends thai > ak< this year The) can help you have .1 safer and hi althici yeai r :irV> Audience: People of the Soviet Union These are special, single-subject issues of the only American pub- lication circulated in the Soviet Union. The problem is to design the magazine so that the subject is both interesting and alive to a readership that has only limited contact with the U. S. ag Food and Drug Administration ad Jesse R Nichols. Jr de Jack Lefkowitz ill Jack Lefkowitz cw. Margaret Morrison ag Department of Labor ad Richard Mathews de Richard Mathews ill. Richard Mathews/Leonardo DaVinci C " JJ-ft DEC. 1973-IAN. 1974 ONSUMER Diiii'I III Don'l Lei Foodbornc Illness Spoil Vour Christmas Feasl ./*•■ 9li r j - - -e ttSMSS The Realities of Manpower Planning /j , ' <X W A '■'V kU r Audience: Labor, industry, education, and local government To illustrate "Manpower Plan- ning": Leonardo's Vitruvian man used to symbolize mankind; the rainbow used to symbolize hope for the future; pencils and words used to represent specific programs, problems and projects. M\ ag United States Civil Service Commission ad Mrs Lee Trees de Edvardo Zayas (Duffy & Associates) ill Edvardo Zayas cw Mrs Lee Trees ag National Institutes of Health ad Ron Winterrowd de Betty Hebb ill Betty Hebb ag. Western Slates Arts Foundation National Endowment for the Arts de. Richey/Shiramizu ph. Reginald Wade Richey cw Brennan Rash Nello McDaniel Ann Merlo ag. National Endowment for the Arts de. Ivan Chermayeff Richard Saul Wurman Ralph Caplan Peter Bradford Jane Clark i State* Ami Fo Montana Nevada New Me.icc Oregon Ulan Washington Wyoming r Audience: Federal Agency administrators and designers To piesent design projects which support the ten criteria for judging effective design. As an educational book, this publica- tion's illustrations and typography were chosen for clarity and directness of message. ag Smithsonian Institution Press ad Stephen Kraft de. Elizabeth Sur ph various & staff ag. Smithsonian Institution Press ad Stephen Kraft de Stephen Kraft ill multiple ph. multiple cw. multiple < <5' Audience: Students and interested laymen To group numerous illustrations as close to their text reference as possible by use of a grid system that allows maximum flexibility in size and placement of illustrations. ■l** g. Library of Congress id. Sarah L Wallace ie. Kathryn C. Burke ag Smithsonian Institution Press ad Stephen Kraft de Elizabeth Sur Americana in Children's Books 1&- t* jpv ■ 4- (I m^> ■$£ A r$ j$i **Gi Vv •J I ag National Institutes ot Health ad Ron Winterrowd de. Linda Brown ill Linda Brown ag Federal Reserve Board ad Mack Rowe de Barry Huber ill. Barry Huber nlenance of sound credit conditions, and the accommodatk merce, industry, and agriculture. The Federal Reserve prescribe regulations further defining within the limitation Act the conditions under which discounts, advancements, accommodations may be extended to member banks. Each reserve bank shall keep itself informed of the general chara amount of the loans and investments of its member banks ew to ascertaining whether undue use is being made of it for the speculative carrying of or trading in securities, n e, or commodities, or for any other purpose inconsistent w. maintenance of sound credit conditions; and, in deU her to grant or refuse advances, rn!;srounts or other credit nodalions, the Federal reserve bank shall give consideration information. The chairman of the Federal reserve bank *A. r l to the Federal Reserve Board any such undue use of ba ny member bank, together with his recommendation. W \e judgment of the Federal Reserve Board, any member ing such undue use of bank credit, the Board may, in il ag Smithsonian Institution Press ad Stephen Kraft de Natalie Bigelow ph various ag Farm Credit Administration ad. Jerry Pavey de. Jerry Pavey ill Jerry Pavey Made in Chicago Agriculture is our Nation's Like all mode . The Federal U nd Banks latgnl industry and cenainiy anchers need ad by the and their Federal Farm oan Act ol operations W uch of this 1916 Initially < apiialued by OSMntlHl segments of our capital is bor ihe U S Gove nmenl, they ol Ihe growing population requires the 12 Federc Government s nveslment in 1 *■ increased amounts ol lOoO d"o "f 9 ,he 19J7 and since and natural fiber products captral'rteede completely on ned by ihe This means thai farmers and ranchers They make long term loans secured bv first SeThe^w vices The ■ sue of (heir operations. mortgages or larm real estate local Federal and Bank utilize bigger and more expensive equipment, build Federal Lanp Ban" 800 ' 0Cal ihe Banks make loans have more and larger buildings. country across the Mosi ol 'he lu ds loaned by scientific and technological are acquired) l 3Sr§fv i UK ol Consolidate d Federal mm? A Yea. agriculture is a thriving. Farm Loan Bonds, more prosperous and big business commonly kno wn as Federal Land Bank Bonds The is an Induslry essential lo purpose of thi leaflet is to everyone explain the features ol 1 hose jqfjj] investments to rrHavored ^fl 50 years He i Audience: General public To communicate a feeling of boldness in design, already shown in the photographs, through the use of bold headers, bright colored end sheets, shiny stock, and large-scale photo- graphs. For the sake of unity, a tight layout grid was used throughout. ag. National Endowment for the Arts ad Nick Chaparos de. Nick Chaparos/Bill Lacy cw. Roy Knight ag. Comptroller of the Currency ad Amy Millen pm Amy Millen W. A. Howland, Jr. de. Jack Lefkowitz ill. Pamela Lefkowitz cw. Amy Millen ag National Institutes of Health ad Ron Winterrowd de Charles R Gailis ill Charles R Gailis ag Smithsonian Institution Press ad Stephen Kraft de Elizabeth Sur ph David Blume ience: Medical and scientific researchers To develop the first issue of an annual report on medical re- search advances at NIH. Publica- tion used as the primary recruiting instrument of NIH as well as the report to the medical community and the Congress on the accom- plishment of the past year. ag Internal Revenue Service ad Don Lynn de Don Lynn ill Bill Miers National Park Service. Denver Service Center Richard J Kusek, AIA Richard J Kusek, AIA Paul Zenisek Audience: General public To provide IRS contribution to be used with eleven other cubes representing the twelve bureaus of the Treasury Department for a Bicentennial display. Highly graphic effects using primary colors were used to tell the IRS story in simple graphic terms. Audience: The vacationing public The problem was to design a ranger station, comfort station, showers and change booths at Cape Hatteras National Seashore expressing the policy of leaving nature's shifting sands and seas unimpeded. The solution was an elevated boardwalk connecting building modules and a shade structure, meant to catch the breeze, all in a weathering wood. 3 National Park Service i David Hughes 3 David Hughes David Hughes 1 David Hughes ag United States Dept of Agnculture/U S Forest Service William R Bruner Audience: Vistors to the Grand Canyon To develop a dynamic visitor identity program which unifies the multi-route bus system (three separate overlapping routes). To design signs flexible enough to show occasional route changes with no structural modifications to the signs. To function without competing with the surrounding environment. To provide hiking and safety information in both English and Japanese. To provide large, lightweight and inexpen- sive benches. Three colors are used to visually enhance the identity system and to differenti- ate the three routes. Route alternations are accomplished with removable surface vinyl dots on the stop location signs. ag National Park Service de Susan Dynes ill Susan Dynes ag Federal Energy Administration de Ron Hughes/Unigraphics, Inc Design Standards Federal Energy Conservation Programs TheSymbol cee c Audience: American people To establish an identity program for the Office of Marketing and Education which would (1) es- tablish a mark for use by all agencies engaged in energy con- servation education programs, which would not interfere with design programs already under- taken; (2) set standards for visual materials to be prepared by the Office, including materials pre- pared by contractors; (3) incor- porate the concept of energy conservation in the design. ag General Services Administration de Vivien Woofter Suzonna Moore Cynthia Panati re James B Knox/Hunter Associates ph Robert Lautman John Drust si RTKL Associates HEW A/S Reception & Conference FWlS«fV=* * 5 ■ 4 HEW Cafeteria 2 2 HEW A S Reception & Conference HEW Typical Conference l~ii '1 J 3 Executive HEW Offices ■■ *P ' mm L liJmm ■ %**) ■ ■ 'P Tvrjical Floor Plan „ SIGNING, GRAPHICS & INFORMATION SYSTEM USER MANUAL 4th Street and Independence Avenue aw. DEPARTMENT OF HEALTH EDUCATION, AND WELFARE THE SOUTH PORTAL BULLUNG ag. Environmental Protection Agency de. Barry Howard Associates ph. Donald Moran ag. U S. Department ot Agriculture ad George Baka >-^ > JHH _~ * L?5 |, f ^ % ^fjfjj ag US Department ol Agriculture pm David Sutton de David Sutton ad Kris Jorgensen AGWClATlWAt RfSEARCH sarvia AGR ABCDEFGHIJKLMNOP abcdefghijklmnopqrsti AGR1CUL LETTUa PRODUCTION IN THE UNITED STATES LETTUCE PRODUCTION IN THE UNITED STATES INITIAL FACILITIES FOR A REGIONAL WHOLESALE FOOD DISTRIBUTION CENTER AT NEW ORLEANS INITIAL FACILITIES FOR A REGIONAL WHOLESALE FOOD DISTRIBUTION CENTER AT NEW ORLEANS LETTUCE PRODUCTION IN THE UNITED STATES USOA AGWCUTL.KAL RESARCH- COLLMB1A , Audience: Scientific and technical research community To design a symbol which repre- sents the agency. The center core is a flame for research relating to the land about it. To design a graphic system to handle a wide variety of titles and subtitles and statements of cooperative agree- ments. Top centered format and bottom identity strips utilize con- stant and variable information. All publications are in two sizes. ag Chesapeake Division Naval Facilities Engineering Command ar Richard A Baxter id Ken Murray de Hellmuth.Obata & Kassabaum (St Louis) ag United States Forest Service ar Robert C Sandusky Audience: U. S. Marines To provide living space, dining facility, exchange store, gymna- sium and athletic facilities, clubs, barbershop, press shop, and parking for 420 Marines. Design consideration was given to the restrictive site (triangular shape, bordered on one side by an expressway and bisected by an expressway ramp), the height restrictions imposed by the Capital Hill location, and the historical character of the exist- ing Marine barracks across the street. Audience: Research facility workers To design a structure to house the Pacific Southwest Forest and Range Experiment Station in such a way as to leave undisturbed the maximum number of trees. Pri- mary study of the Station is the ecology of the redwood forest. Composite Medical Facility. Grifliss AFB, NY ag United States Air Force de MaxO Urbahn Associates, Inc (New York. New York) ph. MaxO Urbahn Associates, Inc (New York, New York) ag General Services Administration de Glen Paulsen, FAIA/ Tarapata MacMahon Paulsen Associates ph Daniel Bartush Audience: Active duty military and other authorized personnel To design a composite military medical facility to serve total health care needs in the Rome, New York, area within established program and constraints on scope and budget. To accomp- lish these goals while providing for the requirements of a northern climate. To preserve natural trees and take advantage of the drop in elevation to provide service access with a separation of mechanical and care levels. ag General Services Administration ad Paul Arthur/Gary Wells de. Paul Arthur ill Paul Arthur ag United States Department of Commerce de Barry Howard & Associates, Inc Scarsdale. New York ag. U. S. Department of Agriculture ad. David Sutton de. Concepts/Gary Jacquemin Audience: Exhibition attendees To communicate the positive aspects of the Federal Govern- ment's interest in environmental issues. Heavy emphasis is placed on science and technology as valuable tools not only in dealing with the restoration of the envi- ronment, but in dealing with future human needs, while main- taining an acceptable quality of life. ag United Slates Department of Health, Education and Welfare, Social and Rehabilitation Service ad John Philion (Blair, Incorporated) Robin Atkiss (SRS) de John Philion (Blair, Incorporated) ph Mike Mitchell ag U S Department ot the Interior, National Park Service ad Russ Hendnckson de Walton D Stowell. AIA pm Walton D Stowell. AIA ph. Larry S Williams ag. Environmental Protection Agency ad. Gifford D Hampshire de Steve Wilson ph. ENTHEOS cw Steve Wilson »g. Federal Home Loan Mortgage Commission id Becky Eason/Graham Associates, Inc. le. Steve Alexander >h. Stephen Szabo :w. Tom Wagner jguir ^ ag American Revolution Bicentennial Administration de Frederick Figall ph Frederick Figall !&?t /^rr^Crrrr . v-r— r /r-rrfn i ^rrrvrrrrr,rrrrT rrr/rrrrnrrrrcriM; r^'^iErrFn^rrrrrrKiziZii f FF/i\r>-' r Pf/f ifrffFFFt r~ r vrr rrr-^rrrtrrrrrrrrv-p rr,r^rrrrrrrrr;,rnr"ri ,' (Design For People Film) National Endowment for the Arts Fred Brink Tom Gormely Mary Simms Fred Brink Rob Whirtlesy Kevin Burke Joan Shantz Film (USArt. The Gift of Ourselves) ag National Endowment for the Arts ad. Tim Radford de Universal Studios ag US I A pm David Paul ad Gardiner Meade de Paul Kervin W^j'-t \ Yl Tlv^ W*^ ^-^ ^ •* *^>^ w ^ V Audience: Second Federal Design Assembly attendees To present the point of view of the citizen, the response of the end-user to government graphics and publications. To impress an audience of Federal administra- tors and designers with the reality of how individuals identify their Government through its visual communications. Audience: General public To present 200 years of U. S. art in 26 minutes providing the broadest definition of the arts. Animation with pacing used that corresponds to the style of the discipline and period plus humor and nostalgia. (Music in the Air Film) ag. National Endowment for the Arts pr. Tim Radford di. Don Lenzer (Don Lenzer Films) ed. Jay Freund ("The Navigators") ag Naval Facilities Engineering Command ad Richard A Genders de Richard A Genders ph Richard A Genders HUD Film ag. Department of Housing and Urban Development ad. Institute for Community Design Analysis de Institute for Community Design Analysis ill. Institute for Community Design Analysis ph. Institute for Community Design Analysis cw. HUD & Institute for Community Design Analysis i e3*=- '•' EBB mKmi 0" ■ as ,-#: lake a look at America today... warts and all When Oliver Cromwell had his portrait painted, he instructed the artist to record his face "warts and all." This is exactly what America's leading photographers have done today through the United States Environmental Protection Agency's DOCUMERICA Project. Designed to show the impact of man on his environment, the DOCUMERICA pictures are sometimes appealing, sometimes appalling, often ugly. ..but always honest. And they are yours for editorial uses to emphasize our environmental concerns, almost for the asking. Berkey K + L has been named custodian of the 12,000 original 35mm color transparencies now in the DOCUMERICA file. We have a complete reference file on color microfiche film cards (4" x 6" cards each holding 60 images). Microfiche readers are available at Berkey K ■+ L for your use in selecting photographs by appointment.The photos are available as either transparencies, color prints or B&W prints at no charge other than lab costs. . Berkey K + L &Documerica Check DOCUMERICA out at Berkey k* L Custom Services, Inc., 222 East 44th Street, New York. N.Y. 1(X)17. Or, if you are in a hurry, call 212-661-5600 and ask for the DOCUMERICA File. ^7ri/ 7 '?/ r 6 \Americans caert y sAotfar coJ/a/torati/wr axtAtAe voritt&A/. ^Bat?to ce/e/>rat& tA& taw Aimdredtkj/ear of oar aia^€na / eric&, jfyterg^stfAa/er i&hroad to coJ/a6ora£& untA tfi& S^ritisA to- l>ruw^oas tA& ''Qu>ooyrotmdAa/id " tAataxis tA&slanaaro ofcommerc&, t/i£s/<fe/y/ob^of<m/^/iatlo/?/, tAe/i/ and ziotm** ^A&&cri^Jr>r '7& 6ys MattAeiih Garter Mergenthaler Linotype Company, an Eltra company, Mergenthaler Drive, Plainview N.Y. 11803, (516) 694 1300. Center For Exhibit Systems An exhibit should communicate. The Center for Exhibit Systems 1 . Perimeter CD D C CD £ <£> en o g>S _ ^£§ CO O co ifi OCN ^ ^ m r o c/) E CD >- U i_ -^ a> _q c JZ CD x C_) LU But, it should also be practical Cost, shipping requirements, space limitations all must be considered. meets these challenges with exhibit systems that use f ire- retardant paperboard as the primary display material. The Center seeks solutions for individual client needs through three basic exhibit systems. Is a multi-purpose paperboard exhibit system. It's lightweight and economical. Panels can be shaped into circles, lines, or angles. No length limit. Maximum height is eight feet. Panels accommodate graphics, photography, and various finishes. Lighting systems are available. 2. Perimeter 10 Is a complete 10-foot exhibit in a box. Exhibit panels, base track, connecting hardware. Lights are shipped separately for extra protection. The tracking system is plastic and the panels are paperboard. So it's a lightweight box to handle and ship. 3. Perimeter 12 Is a modular paperboard exhibit system that's economical and extremely flexible. Paperboard modules (40" wide x 31" high x 8" deep) act as building blocks — to be used separately or together. Modules are light- weight and compact. Twelve fit together (3 high and 4 across) for a standard 10' booth The Center for Exhibit Systems is anxious to meet your specific problems with innovative, and practical solutions. For more information: Fred Steiner Center for Exhibit Systems 645 North Michigan Avenue Chicago, Illinois 6061 1 (312) 786-5580 Case Histories Problem Chicago '74, the annual art director's show, needed an exhibit system to act as a backdrop for various displays. The system had to be economi- cal, because it would be used only once. But, it had to be visually exciting due to the nature of the show. Problem: JDS. Printer Craftsmen, Inc. needed an exhibit with a large area for prominent graphics. It had to be low cost and ready in three weeks. The display had to be strong enough for future showings— and easily stored. The graphics had to be sharp and precise. Problem The U.S. Department of Labor needed a flexible modular exhibit system to use in branch offices and for promotions, seminars, and trade shows. The system had to be lightweight and compact for shipping, and it had to be adaptable to widely varying space limitations. Solution: Chicago '74 contacted the Center for Exhibit Systems. The solution was a series of walls made from Perimeter panels. The panels served as a guide through the entire show. The Perimeter system met all necessary space, handling, and budget requirements. Solution J.D.S. Printers contacted the Center for Exhibit Systems. The solution was a Perimeter 10 display with a roller coated solid background and a high gloss varnish finish. To save costs on silk screening, rub-off lettering was used. The entire exhibit was ready on time and within budget. It knocks down easily for storage in two boxes. Solution The Department of Labor con- tacted the Center for Exhibit Systems. The solution was an exhibit made from Perimeter 1 2 units. The paperboard modules met all cost and shipping requirements. Sturdy enough for repeated showings, the Perimeter 12 units fit easily into any available space. Yesterday's Crafts With Today's Techniques banners exhibits environmental graphics DGCOMTN£ PMMT 136 WEST 24th STREET NEW YORK, N. Y. 1001 1 (212) 924-4405 'Idea purloined from the Chicago Public Library. Bawdy. Bountiful. And beautiful. The revolutionary Bicentennial Issue from Letraset captures two centuries of Americana -from Colonial times to the Roaring Twenties- in 15 different type styles. In addition, there are two special sheets that give you the liberty to choose from among many patriotic symbols. You get the alphabet, phrases and other elements of the Declaration of Independence in its distinctive calligraphic style. Letragraphica Bicentennial Issue gives you the freedom to create bold new graphics in a matter of moments. Your dealer now has copies of the Letraset Bicentennial Issue brochure. Pick one up and get a free 19"x24" poster of this ad photo. ■ Letraset ■ sets vou free. Letraset sa 83 NEW BRIDGE ROAD. BERGBNFIELD, N.I 07621 INC. THE BIG SHOW Off ] I Designed specifically for your types and sizes of work whether blueprints, drawings, stats, lithos, etc. With the Magnapex™ you can mount your work on foamcore, mountboard, Masonite,® etc. quickly and wrinkle free. The press will handle or print up to 4' x 8' in one operation or 51 8" x 1 0" prints (on different thicknesses of mount "board") at one time! No more messy wet mounting, no sprays, no cements, no pastes, no wrinkles, no drying time. Just fast, permanent mounts every time. To find out more about Seal's Magnapex dry mounting and lami- nating, just take a few seconds to fill out the coupon and send it in. Try Seal, you'll stick with it. Seal, Indus- trial Products Group, Derby, CT 06418 Seal Please send me more information of the new Seal MAGNAPEX press. And, I would like to see a personal demonstration. Name TitlP Company Address City State 7ip Seal, Industrial Products Group, Derby, CT 06418 Dealer Inquiries Invited Quality in Pre-Press Graphics Dry Transfer Lettering • Shading Sheets Color Overlay Sheets • Masking Film Border and Charting Tapes • Clear Film Write for catalog and free samples. Zipatone, Inc. 150 Fend Lane, Hillside, Illinois 60162 TEST TEST = THEIR6. OUR& And "theirs" can be any drafting paper you choose. Draw a line, erase and redraw it. Then, look for ghosts. On any paper, other than Clearprint, they're al- most sure to be there. That would be the perfect mo menttofil I out our coupon and send for your free catalog. Then, try the same test on our paper. You won't get any ghosting. Forty years and more from now you won't see any cracking or yellowing either. Send for your catalog today. Of course, there's no obligation — except to yourself and your company. We perfected paper in 1Qdd . ^ * Free Catalog* ^ - Please send us your catalog of samples and suggested price lists. V\fe use drafting paper for: Name Title Firm Name. Address City_ State. .Zip. C Uarp^wt CLEARPRINT PAPER CO., 1482-67th STREET EMERYVILLE, CALIFORNIA 94608 FDC 500 A Lay down a line on your draft- !■ ing paper. Erase and redraw the same 2 line in the same place several ^ If you see a ghost, the paper ■ times. ^•i isn'tClearprint. k > ® £ Nothing is more important today than confidence in government. Communication iS Communication mark developed by the iLp Ifpw Center for Advanced Research in Design ine Key as the leading visual element in a totally' integrated communication program for the United States Department of Labor. For further information contact: Terence Westmacott Center for Advanced Research in Design 645 North Michigan Avenue Chicago, Illinois 312/786-5570 LINOTRON 505 • LINOTRON 303 • V-l-P PHOTOTYPESETTERS • V-l-P PRINTER MODEL 140 • LINOCOMP PHOTOTYPESETTERS CORRECTERM • MICOMP KEYBOARDS • OCR SYSTEMS • SOFTWARE Photocomposing Systems in complete compatible packages Mergenthaler an EltlH | compa/ MERGENTHALER LINOTYPE COMPANY • MERGENTHALER DRIVE, P.O. BOX 82, PLAINVIEW, NEW YORK 11803 for better duplicates your filmstrips & slides . . . at lower prices! This color brochure tells why your filmstrips and slide sets will look better if you have them duplicated at Color Film Corporation. A list of our various services and prices is also included. We have specialized in the duplication of filmstrips and slide sets since 1949. We have total in-house services and can handle your job efficiently . . . whether large or small. AUTHORIZED FEDERAL SUPPLIER GS-03S-44047 SEND FOR FREE BROCHURE & PRICE LIST We will also include our cropping guide to convert from slide to filmstrip format — COLOR FILM - CORPORATION 0, .0 &° !□! o H SO! ?□! 777 Washington Blvd. (Dept. M) Stamford, Conn. 06901 Conn. (203) 327-7050 NYC (212) 933-3322 A time-saving "in-house" capability for headlining, AV titling, labeling and more Announcing the only headliner with instant letters, no chemicals and simultaneous positive and negative images 3m M GOmPANY REPROM ASTER 2000.... The latest generation of computerized vertical cameras, the REPROMASTER 2000 provides a complete, automatic, electronic digital data system that as- sures accurate exposures and focusing — everytime! It's the most versatile and technically advanced compact camera system available today for producing — • Film Negatives & Positives • Contin- uous Tone Prints on Paper or Film • Halftone Prints up to 150-line • Repro- ductions of 3-D Objects • Special Effects & Line Conversions • Combina- tion Line & Halftone Prints • Offset Plates & Stats Rapid Processing Systems AGFA-GEVAERT, INC. 275 North Street Teterboro, N.J. 07608 3M Brand Promat Model 100.. .a headline compositor for 14 to 72 point type, specifically designed to save you time and work. Here's how: There's no messy chemicals, processing time or warm-up. It's a dry system, ready-to-go when you are. Negative and positive letters are instantly imaged and simultaneously dispensed on tear-resistant film. Eliminates extra steps and extra cost for type reversal. Operation is in normal room light without special train- ing or experience. Alignment is automatic. Letters are crisp, dry, ready-to-use. With Promat, there's no reason to pay and wait for some outside service to set your headlines and subheads. You can put Promat to work now on keylines, overhead visuals, slide titles, labels, signs. ..wherever you need quality lettering at a "pennies-a-word" price. Select from a wide variety of serif, sans serif and script typefaces, including most popular ITC releases. Or order custom fonts with almost any typeface, logo, screen or line art of your choice. For a demonstration or more information . . . Mail this reply card directly to Promat Project, 3M Center, Bldg. 223-5N, St. Paul, MN., 55101. Name_ Title_ -Company. _Phone Address. City _State_ JZip_ 13 etter Letter dry transfer lettering. It's what it doesn't do that does it. Like peel, crack, chip, slide, loosen and cost a lot. Find out Ask for a catalog. t 1 ! ii® Division of The C-Thru Ruler Company 6 Britton Drive. Bloomfield. Connecticut 06002. 203-243-0303 Since 1954 more than a quarter of a million people have benefited from these workshops. We're sure you will too. You'll have the opportunity to hear from presentation experts and learn about interesting processes and techniques. You'll then practice, explore and create your own exciting visual concepts... with expertise. For complete information about Tecnifax Visual Communication Workshops, simply fill out the postpaid card and mail now! SCOTT GRAPHICS Yes, I'm interested in the Tecnifax Visual Communication Workshops Please send: □ complete information regarding workshop location, times and program itinerary. □ current GSA Supply Schedule for Tecnifax brand products. Name. Organization Address City State Zip tretecn \mmx — ♦ * MENU *♦— The importance of visual communication — how visuals can help in the understanding and retention of information. The Diazo Process — what it is, how to use it, how you can put it to work for you. Overhead projection, rear view projection, 35 mm. projection, motion picture and TV techniques — a look at them individually and collectively (including the multi-media approach.) Color and composition — how to utilize them to create mood and emphasis. Photographic and photo-reflex equipment techniques — how they can help you build more effective presentations. Polarization — how to create unusual effects such as highlighting, fade-outs and motion. Non-projected techniques — an examination of chalk boards, flannel boards, flip charts and other demonstration tools. Plus free-wheeling periods — time to create and develop visuals of your own — under expert guidance. Here's a sampling of what we have prepared for you... The Tecnifax Visual Communication Workshop is a shirtsleeves seminar, not a textbook (theory) course. Our program has been carefully planned to actively involve all partici- pants. You'll learn not only from your own explorations, but also from each member of your group. And you'll "graduate" enriched and refreshed ... a more com- plete designer of communi- cation and presentation materials. ©I First Class Permit No. 62 Holyoke, Mass. Business Reply Card No postage stamp necessary if mailed in the United States Seminar Director Scott Graphics, Inc. Holyoke, Massachusetts 01 040 CARD MISSING? For complete information about the Tecnifax Visual Communication Workshop, write to: Seminar Director Scott Graphics, Inc. Holyoke, Massachusetts 0104 a x w a c o c 01 in <o HI u a 10 5 (A C . c tfl o id a) r E o 3 • « I. TJ £ o o K 0) o c 01 c - <I> a § to 1 . ran s « f i /• I H X^ • V IU N £ CT ^ DC 00 Q QJ Z < y in hOO b z n Q- DC iu D d Q in w o CD qc CJ 0J UJ < r i > LU y =! c ? CO < ■ Design. Brought to you by Sparkman and Bartholomew Associates 1 1 20 Connecticut Ave., N.W. Suite 464 Washington, D.C. 20036 (202)785-2414 f n To create. . . to surpass. . . to achieve . . . and know the joy that comes with developing an effective graphic communications idea ... is % '■■ the <ll>ltimate £§}oal E - s^ sought by the graphic artist-designer. i To reach this often elusive goal, the selective, wise use of tools available can be an important success ingredient. If you have not already discovered an art-o-graphs creative potential. well be glad to send complete information. o model IOOO| shown; 4 models available %ART O GRAPH art a graph inc 529 SOUTH SEVENTH STREET, MINNEAPOLIS, MINNESOTA 55415 TELEPHONE: 612-336-18(1 Gestalt Associates, Inc. 901 N. Washinatan Street Alexandria, Virginia 22314 683-1126 NOW IN WASHINGTON Dry Transfer Lettering Now Available At llariowt* More economical, longer shelf life Over 200 faces & charting tapes Custom logos from your art Rapid delivery service Call your Harlowe representative 6£8-737£ This complete ad prepared with Geotype adcom inc. 502 WEST BROAD STREET, FALLS CHURCH VIRGINIA, 22046 - (703) 534-8183 main store 9230 WARREN STREET, SILVER SPRING MARYLAND, 20910-1301) 587-2820 branch □ solid structured bold innovative graphics a ultragraphics INCORPORATED silver spring, maryland arlington, Virginia 588-6122 524-6122 ou^ausiNess iS M/KiNG over and over and over and over and over... SO/SO GRAPHtCS screen process printing /exhibits and displays 409north stonestreet ave., rockville, md. 424-6866 stralr Chances are you've new heard our name befor but that's alright! We pr vide art and photograph services for 35mm visua to some of the most sophi Heated governmental agei cies, industrial firms, an advertising agencies i the Eastern United State, Somedav. picture. Stanford Paper Company, Inc. 3001 V Street. N E . Washington, D C 20011 202 • 526-1600 VISUAL sjsreMs CO. INC. representing quality in graphic art supplies Fuller &d Albert SUPER STORE! Photographic Equipment, Supplies, Accessories Geared To Serving The Professional (And the Serious Amateur) No doubt about it. Fuller &d'Albert is a photo- graphic Superstore! We represent literally dozens of manufacturers and suppliers, featuring every- thing from Agfa to Zero. We carry: Photogenic, Norman, Bowen, Mole- Richardson Lighting, Professional Cibachrome, Agfa stabilization equip- ment & supplies, and Kreonite darkroom equipment & processors, to name just a few. Aristo, Beseler, Bolex, Kodak, Eumig, G.E., Honeywell, llford, Leitz, Mallory, Nikon, Omega, Polaroid and Rolliflex, just to name a few more. And there's much, much more! Free Seminars— Lectures — Demonstrations. Free monthly publication, PHOTOPHAX. Art Gallery for photographers. Everything [ fljllCr& Photographic \lllillllErt Since 1915 703 591-8000 Open Monday thru Saturday, 9:30 a.m. to 6 p.m. 31 70 Campbell Drive (just west of Fairfax Circle off Rt. 50), Fairfax, Virginia CloseoutSali For 4 long years, while the greed-is-our-creed crowd was milking us dry and hollering, "inflation made me do it." good old Phil gallantly fought to hold the line at SI. 7 5 a word. And lost. The time has come to scrap his WIN button or follow N.Y. city down the tubes. But there's still time to stock up on headlines at the old price (while Phil gets himself into gear and gets new forms printed up.) He has 700 mostly lovely typefaces and you get overnight service without even asking for it. Fora limited time only, this town's greatest headline buv still lives. •PHOTO inc 2107 K ST NW W/aSH DC 20037F 202 293 2214 Eclectic Design Interiors Commercial and Private Robert Sankey Hartmann Ann Bleakley Catlin 202-363-6839 liililll N sW^fiW Bill II lit III EDW\RDT.IBA 31 8 3rd street, ne (rear) Washington . d c 20002 2025434419 custom sound systems cabinets custom furniture reproductions of antiques I specialize in graphic design and photography for visual aides. My grapheon color slide is a very effective, efficient and a low cost com- munication device. I have a current and active GSA contract. Call me for more information. EARL F,' KEAT<§>N 730 NO. LYNN ST. SUITE 400 ARLINGTON, VA . 22209 703/525 1154 Share our point of view. We think that it is the practical and professional approach to graphic communications . . . The Art Production Company considers function to be the principal arbiter of good design. For us, good design emanates from proper planning, effective communication and realistic scheduling. The Art Production staff has consistently applied the concepts of graphics management, intelligent design and competent production to a great number of federal design projects including magazines, annual reports, exhibits, posters and brochures. So what makes our point of view so different? Experience. We presently design four federal periodicals and have partici- pated in the design of many more. We have completed over 150 projects for the federal government in the last four years. Specialization. We work ex- clusively in the government and non-profit sector. Idea Communications are not the same as Product Communications. We know the difference. Respon- sibility. We meet deadlines —every time.Discussyour next project with AlvinRosenbaum, The Art Production Company, 1740 N Street, N.W., Wash ington, D.C. 20036. Tele- phone (202) 628-2900. Trading as Art Production, Inc. GSA Contract #GS-03S-43483. Share our point of view. . ..Savings . . .Features FOLDS COMPACTLY INSTANTLY for easy portability and space-saving storage. BOARD TILTS 160° horizontal, vertical or any angle in 160° rotation. BOARD ADJUSTS from 30" to 48" high. Versatile STACOR drawing tables The Full-Time/Part Time Drawing Tables . . . quality-made for long life, with the professional features of a stationary drawing table . . . plus the easy portability for use anywhere. Sets up easily and instantly anywhere. Full 24"x36" and 30"x42" tops. Deluxe tables feature Techni/Top Boards, sealed and lacquered, and with metal wrap-around end cleats. Bases available in durable baked-on Red, Black or White enamel. NON-WARP TECHNI/TOP CONSTRUCTION Cross laminated with cellular core. Select softwood surface. STURDY All steel frames, hinges and crossmembers. STABLE With non-tilt suspension and adjustable self-leveling glides. T.M. DRAWING BOARDS ECONOMY SERIES Has most of the plus features usually found only on much higher priced draw- ing tables. CATALOG NUMBER TOP SIZE FL2436W White 24"x36" FL2436B Black 24"x36" FL2436R Red 24"x36" FL3042W White 30"x42" FL3042B Black 30"x42" FL3042R Red 30"x42" DELUXE SERIES All the features of the Economy Series plus the drawing board is sealed and lac- quered and has steel wrap-around end cleats. CATALOG NUMBER TOP SIZE DFL2436W White 24"x36" DFL2436B Black 24"x36" DFL2436R Red 24"x36" DFL3042W White 30"x42" DFL3042B Black 30"x42" DFL3042R Red 30"x42" STACOR Manufacturers of Lifetime Quality Equipment for Schools, Libraries and Industry STACOR CORPORATION GENERAL OFFICES: 285 EMMET STREET • NEWARK, NEW JERSEY 071 1 4 PHONE AREA CODE 201 242-6600* PLANTS: NEWARK, N.J., SCRANTON. PA. Joel C Freid Photographer Member ASMP 9324 Edmonston Rd Greenbelt, Md 20770 301 441-2992 GS-03S- 43628 ©)oelC Freid 1975 raphs .and lettering llustrations ayouts ™ ■ lettering ; T :Tt ions jblications lides vart vugraphs Give us your most complex jobs ■ ■ ■ and we will produce them. Hope Woodworking Company designers and builders of displays, signs & exhibits 4226 howard avenue kensmgton. marylana 20795 933-1451 K .you think that: full bleed is a medical term Cooper bold is a brave barrel maker a three color job is an integrated bank robbery crop marks are used to measure harvests saddle stitching is what harness makers do a technical pen is an automated prison rubber cement is for repairing your galoshes a one point rule has to do with football a clean mechanical is a recently washed machine blue line is the name of a bus company color separation was declared unconstitutional ■ llOtl * you c ' ont ^ ave any neec ' ^ or: Great ^ nc - U.KTJM* design and illustration (703) 83t>6020 u z >- z < Q. o u a. Q. D tn ^j^^fe S3 C C e a - • a a — 10 o. <rt w O 0) c c * o a a 2 s 5 ' o 2 K < a. 111 Ui U.OO*_I-I-jSi ^ 3 C CM — •- t> Tt so i i IX 00 en CO hsSO ee FOR THE BEST IIM EXHIBIT DESIGN, CONSTRUCTION AND SERVICE TODAYS DISPLAYS, INC. 45-55 PEARSON STREET LONG ISLAND CITY, N.Y. 11101 ST-4-9600 m&si SERVING ARTISTS for 29 years o Color slides © Vu - graphs ° Photo transparencies ° Photo murals - any size up to 52 inch widths o Color and B/W prints QUALIFIED G.S.A. CONTRACTOR 526 - 5000 ♦ 526 - 5000 * 526 - 5000 • 526 - 5000 • 526 ■ 5000 * 526 5000 charts & graphs a Id accent art, inc. 7726 Finns Lane Lanham, Md. 20801 301/459-6390 illustrations & designs composition I lettering .'■■•■■.;''■-'•' Stephenson, Inc. 2210 Channing Street NE Washington DC 20018 202/832 0900 Why not have your Typesetting done the Modern Way? Modern Linotypers INCORPORATED LINOTYPE LUDLOW MONOTYPE HANDSET PHOTOSET 7131 Rutherford Road • Baltimore, Maryland 21207 501 Fifth Avenue • New York, New York 10017 Phones — Baltimore (301) 944-6600 • Washington (301) 776-7420 QUALITY QUALITY QUALITY QUALITY WORTH REPEATING V^UNITED LITHO UNITED LITHOGRAPHIC SERVICES. INC P.O. Box 191 Falls Church. Virginia 22046 560-5700 Arlington Posta craft 1211 N. Highland St. Arlington, Va. 22201 Phone- 528-0405 The Best In Screen Printing FEDERAL DESIGN COUNCIL RQ BOX 7537 WAS! IINGTON, D.C. 20044 The Design Response was conceived by the Federal Design Council to illustrate the unique design solutions developed in response to the government's need to communicate effectively with the public. The Council extends its membership to all design and visual communication professionals in Federal, State, and local governments as well as to those in the private sector. If you are interested in joining the Federal Design Council, complete the form and mail it with a membership fee of $20 to: Federal Design Council P.O. Box 7537 Washington, D.C. 20044 Name. Home address City State Zip Phone ~J Government employee J Private sector Agency name Agency address City State Zip Phone Status if government: [~J Permanent ~J Conditional [ J Temporary [~J Military Position Responsibilities Education Professional affiliations Color Black* White Prints Transparencies Slides 836- 74 66 MURRAY PHOTOGRAPHIC BOO N. West St.. Alexandria, Va.